The New York Observer
August 16, 2004
“You’ve seen one, you’ve seen them all” is the likely response to the abstract paintings of Peter Flaccus. on display at the Zabriskie Gallery. Each of the 17 paintings is devoted to a single motif: a blurred circle of color and light an aureole that depending on the ndividual
painting, expands or contracts. dissipates or coalesces. This phenomenon—"image" is too concrete a word here—brings to mind sunspots or microcellular life forms. Slow, sensual
and yielding, the paintings pulse with a preternatural delicacy. Credit goes to the artist’s way with encaustic: His surfaces are lustrous and smooth, hands-off—the paintings seem medium-free. Gerhard Richter ain’t got nothing on Mr. Flaccus when creating photographic effects.
His palette runs the gamut and, as such, seems expert and arbitrary rather than felt—the exception being the resonant pinks and greens of Pink Fan (2003). Mr. Flaccus’ dependence on technique can’t help but limit the scope and possibility of his art; he’s painted himself into an exquisite corner. Still, if one of these things were hanging over the fireplace, you’d be happy it was there.